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Friedrich Nietzsche: Photographic portrait, 1882Photographic portrait, 1882Gustav Adolf Schultze; public domain · Public domain

Friedrich Nietzsche

Life dates: 1844 AD — 1900 AD

German philosopher and cultural critic whose numbered passages question familiar judgments about morality, knowledge and everyday conduct. Read the arguments in context, with attention to their historical translation.

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Life and writing

Friedrich Nietzsche lived from 1844 to 1900. He taught classical philology at Basel before leaving his professorship in 1879. His philosophical writing developed through criticism of inherited assumptions about culture, morality and religion, often examining the motives behind judgments that appear self-evident.

Human, All-Too-Human appeared in 1878 and marked a turn toward short numbered passages. A complete aphorism may make an argument, stage an objection or expose a tension rather than settle a question. The archive preserves whole numbered units in historical English translations; neighbouring passages and the larger work help readers assess the claim being made.

Reading this voice

Begin with a complete numbered passage, then follow the source reference into the same edition linked below. Helen Zimmern’s 1909 Part I and Paul V. Cohn’s 1913 Part II have different translation choices. Do not treat a historical argument as a fact merely because it is memorable. Some passages contain dated social assumptions. The approximate 1872 timeline coordinate is the midpoint of 1844–1900, not the composition date of the words.

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Profile sources and editorial notes

Agent-assisted editorial profile, updated 2026-10-04. A human reviewer is not recorded. Biographical context does not independently authenticate every quotation attributed to this person.

Quotations and sayings

01c. 1872 AD
The Happiness of the Historian.—“When we hear the hair-splitting metaphysicians and prophets of the after-world speak, we others feel indeed that we are the ‘poor in spirit,’ but that ours is the heavenly kingdom of change, with spring and autumn, summer and winter, and theirs the after-world, with its grey, everlasting frosts and shadows.” Thus soliloquised a man as he walked in the morning sunshine, a man who in his pursuit of history has constantly changed not only his mind but his heart. In contrast to the metaphysicians, he is happy to harbour in himself not an “immortal soul” but many mortal souls.
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06c. 1872 AD
Incurable.—The idealist is incorrigible: if he be thrown out of his Heaven, he makes himself a suitable ideal out of Hell. Disillusion him, and lo! he will embrace disillusionment with no less ardour than he recently embraced hope. In so far as his impulse belongs to the great incurable impulses of human nature, he can bring about tragic destinies and later become a subject for tragedy himself, for such tragedies as deal with the incurable, implacable, inevitable in the lot and character of man.
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09c. 1872 AD
The Obscurantists.—The essential feature of the black art of obscurantism is not its intention of clouding the brain, but its attempt to darken the picture of the world and cloud our idea of existence. It often employs the method of thwarting all illumination of the intellect, but at times it uses the very opposite means, seeking by the highest refinement of the intellect to induce a satiety of the intellect's fruits. Hair-splitting metaphysicians, who pave the way for scepticism and by their excessive acumen provoke a distrust of acumen, are excellent instruments of the more subtle form of obscurantism.—Is it possible that even Kant may be applied to this purpose? Did he even intend something of the sort, for a time at least, to judge from his own notorious exposition: “to clear the way for belief by setting limitations to knowledge”?—Certainly he did not succeed, nor did his followers, on the wolf and fox tracks of this highly refined and dangerous form of obscurantism—the most dangerous of all, for the black art here appears in the garb of light.
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10c. 1872 AD
By what Kind of Philosophy Art is Corrupted.—When the mists of a metaphysical-mystical philosophy succeed in making all æsthetic phenomena opaque, it follows that these phenomena cannot be comparatively valued, inasmuch as each becomes individually inexplicable. But when once they cannot be compared for the sake of valuation, there arises an entire absence-of-criticism, a blind indulgence. From this source springs a continual diminution of the enjoyment of art (which is only distinguished from the crude satisfaction of a need by the highest refinement of taste and appreciation). The more taste diminishes, the more does the desire for art change and revert to a vulgar hunger, which the artist henceforth seeks to appease by ever coarser fare.
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13c. 1872 AD
In the Desert of Science.—As the man of science proceeds on his modest and toilsome wanderings, which must often enough be journeys in the desert, he is confronted with those brilliant mirages known as “philosophic systems.” With magic powers of deception they show him that the solution of all riddles and the most refreshing draught of true water of life are close at hand. His weary heart rejoices, and he well-nigh touches with his lips the goal of all scientific endurance and hardship, so that almost unconsciously he presses forward. Other natures stand still, as if spellbound by the beautiful illusion: the desert swallows them up, they become lost to science. Other natures, again, that have often experienced these subjective consolations, become very disheartened and curse the salty taste which these mirages leave behind in the mouth and from which springs a raging thirst—without one's having come one step nearer to any sort of a spring.
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17c. 1872 AD
Deception in Love.—We forget and purposely banish from our minds a good deal of our past. In other words, we wish our picture, that beams at us from the past, to belie us, to flatter our vanity—we are constantly engaged in this self-deception. And you who talk and boast so much of “self-oblivion in love,” of the “absorption of the ego in the other person”—you hold that this is something different? So you break the mirror, throw yourselves into another personality that you admire, and enjoy the new portrait of your ego, though calling it by the other person's name—and this whole proceeding is not to be thought self-deception, self-seeking, you marvellous beings?—It seems to me that those who hide something of themselves from themselves, or hide their whole selves from themselves, are alike committing a theft from the treasury of knowledge. It is clear, then, against what transgression the maxim “Know thyself” is a warning.
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